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LETTERATURA INGLESE III  XX CENTURY:  THE ERA IN WHICH BRITAIN WAS THE BIGGEST EMPIRE IN THE WORLD “THE EMPIRE WHERE THE SUN NEVER SETS”  THE WAY IN WHICH ENGLAND COLONIZED WASN’T PEACEFUL: IMPOSED ITS LANGUAGE, CULTURE AND RELIGION-THAT’S THE MOST IMPORTANT REASON WHY ENGLISH BECAME A GLOBAL LANGUAGE  COLONIES’ CONDITIONS: HORRIBLE WORK LONG HOURS TO EARN MONEY/ THEY DIDN’T PARTECIPATE IN POLITICAL LIFE/ SOCIAL REBELLIONS AGAINST BRITAIN/ INDIA OF GANDHI PEACEFUL PROTESTS AGAINST INJUSTICES ONE OF THE 1ST (1960S)  FROM A LITERARY POINT OF VIEW AUTHORS WHO EXHALTED UK ( KIPLING WHO WRITES “KIM” AND “THE JUNGLE BOOK”) AND AUTHORS WHO CRITICIZED UK UNDERLINING ITS DARK SIDE ( GEORGE ORWELL WHO WRITES “ANIMAL FARM” AND “BURMESE DAYS” )  UK IMPORTED RAW MATERIALS FROM COLONIES ( TEA FROM INDIA )/THANKS TO THEM THE GREAT EXHIBITION OF 1851 ORGANIZED BY PRINCE ALBERT, VICTORIA’S HUSBAND IN THE CRYSTAL PALACE ( MADE OF GLASS. DESIGNED AND BUILT BY JOSEPH PAXTON )  CHANGES IN TRASPORTATIONS NEW RAILWAY LINES ( MOST IMP. LIVERPOOL- MANCHESTER ) ( THANKS TO THE RAILWAY ACT OF 1921 ) PEOPLE CAN TRALER QUICKER AND SAFER AND OFTEN  THE HOUSE OF WINDSOR: AFTER THE DEATH OF QUEEN VICTORIA ( 1901. 60 YEARS OF REIGN. THE LAST OF HANNOVER ) - 1901-10: EDWARD VII ( VICRORIA’S SON. HE BELONGED TO THE HOUSE OF SAXE COBURG GOTHA BUT DURING THE WW1 HE CHANGES ITS NAME IN WINDSOR FOR AN ANTI-GERMAN SENTIMENT ) - 1910-36: GEORGE V ( EDWARD VII’S SON. WW1 ) - 1936: EDWARD VIII ( GEORGE V’S ELDER SON- ABDICATED BECAUSE HE REVEALED HIS LOVE TO AN AMERICA ACTRESS: WALLIS SIMPSON ) - 1936-52: GEORGE VI ( WW2, INDIPENDENCE OF INDIA AND PAKISTAN, APARTHEID LAWS IN SOUTH AFRICA ) - 1952-2022: ELIZABETH II ( MOST LONG LIVED SOVEREIGN ) - 2022- STILL ON CHARGE: CHARLES III  1ST WORLD WAR ( 1914-18 ) 5 MAIN CLAUSES: 1. IMPERIALISM: ALL GREATER EMPIRES HAD THE DESIRE TO BE STRONGER THAN THE OTHERS SO THERE WAS A COMPETITION 2. NATIONALISM: IT’S A NATION’S WISH TO BE INDIPENDENT ( BOSNIA AND HERZEGOVINA INDIPENDENT FROM AUSTRIA-HUNGARY TO BE PART OF SERBIA ) 3. MILITARISM: ALL NATIONS WANTED TO DEMONSTRATE THE STRENGH OF ITS ARMY ) 4. DEFENCE ALLIANCES: IF ONE COUNTRY OF AN ALLIANCE WAS ATTACKED, ALLIED POWERS HAD TO DEFEND 5. THE ASSASSINATION OF ARCHDUCKE FRANZ FERDINAND OF AUSTRIA IN JUNE 1914 BY A SERBIAN STUDENT. AUSTRIA- HUNGARY DECLARED WAR TO SERBIA. RUSSIA WAS ALLIED SERBIA SO DEFENDED IT SO GERMANY, ALLIED, WITH AUSTRIA DECLARED WAR TO RUSSIA AND THE WAR EXPANDED BEING A GLOBAL WAR  CENTRAL POWERS ( GERMANY, AUSTRIA-HUNGARY, BULGARIA, OTTOMAN EMPIRE ) VS. ALLIED POWERS ( UK, FRANCE, ITALY, RUSSIA ROMANIA, CANADA, JAPAN, USA ) THEY WON NEW MILITAY TECHNOLOGIES NEW ARMS ( BOMS, CHEMICAL WEAPONS) HORROR DESTRUCTION  ENGLISH LIBERAL PARTY WA AGAINST THE WAR BUT TO AVOID A CRISIS THEY HAVE TO JOIN THE WAR/ LIBERAL AND CONSERVATIVE PARTIES AGREED ON THE SAME POLITICAL CHOICE/ STATE OF TOTAL WAR  MANY MEN WERE TAKEN IN THE ARMY THANKS TO POSITIVE PROPAGANDA THAT SAID IT WAS THEIR DUTY TO JOIN, TO HAVE GLORY ETC…  WOMEN STARTED TO WORK  ACCORDING TO MANY HISTORIANS BRITISH ARMY AND NAVIES= THE BEST TRAIED AND EQUIPPED EVER SENT TO WAR  WW1= WAR OF TRENCHES  CONSEQUENCES: CULTURAL CHANGE, POLITICAL AND POLITICAL UNREST, TECHNOLOGICAL INNOVATIONS, SHOCK  ACCORDING TO ROBERT FROST POETRY IS WHAT A POET WRITES  POEM= METRICAL COMPOSITION IN VERSE WRITTEN IN CERTAIN MEASURES IN BLANK VERSE OR IN RHYME CHARACTERIZED BY IMAGINATION AND POETIC DICTION. SOME POEMS ARE FORMAL AND OTHERS ARE MORE PLAYFUL, SOME ARE PUBLISHED IN BEAUTIFUL BOOKS AND OTHERS ARE WRITTEN ON SIDEWALKS BUT ALL EXPRESS THE WRITER’S IMAGINATION AND FEELINGS IN A CREATIVE WAY  THE MOST IMPORTANT ELEMENTS IN POETRY ARE: THEMES: HIS EXPERIENCE DURING THE WAR, DEPRESSION “ A PRIVATE”: (1915 ) ESTABILISH A CONTINUITY BETWEEN HIS CHARACTER’S ENGLISH BACKGROUND AND HIS DISTANT DEATH  ISAAC ROSENBERG: “ON RECEIVING NEWS OF THE WAR”: TALKS ABOUT HIS REACTION TO THE OUTBREAK OF THE WW1: ANXIETY, DEATH AND REBIRTH/ 5 QUATRAINS OF ALTERNATING RHYME ( ABAB ) “AUGUST 14”: (1916) REFLECT ON THE BEGINNING OF THE WAR AND ITS CONSEQUENCES = Snowisa strange white word. No ice or frost Has asked of bud or bird For Winter's cost. Yet ice and frost and snow From earth to sky This Summer land doth know. No man knows why. In all men's hearts it is. Some spirit old Hath turned with malign kiss Our lives to mould. Red fangs have torn His face. God's blood is shed. He mourns from His lone place His children dead. O! ancient crimson curse! Corrode, consume. Give back this universe Its pristine bloom. Ms. Ramos  W.H. AUDEN: ANALYTICAL CLEAR THEMES: MORAL, PSYCHOLOGY, RELIGION, TRAVELS ( LIKE “SPAIN”) POEMS: ANOTHER TIME, MUSEE DE BEAUX ARTS, THE DOUBLE MAN, AND THE SEA AND THE MIRROR  “FUNERAL BLUES” (1938): A SAD ELEGY THAT DESCRIVES FEELINGS RELATED TO GRIEVING ( LUTTO ). IT INFLUENCES EVERYBODY BUT IN DIFFERENT WAYS FOR SOMEONE LIKE THE POET THE WORLD IS TRANSFORMATED, FOR OTHER ONES NOTHING CHANGES THE POET AFTER THE DEATH OF A LOVED PERSON IS SAD, ISOLATED, REST IN SILENCE, HE IS LOST AND DESCRIVES THESE FEELINGS IN THE ELEGY FORMED BY 4 QUATRAINS RHYME: ABAB ITALIAN SONNET MADE UP OF 14 LINES SUBDIVIDED IN 2 PARTS: 1ST OF 8 VERSES AND 2ND OF 6 VERSES REGULAR RHYME SCHEME: ABAB, CDCD, EFG EFG  JULIAN GRENFELL: PATRIOTIC SOLDIER “HYMN TO THE WILD BOAR” FIGHTING FOR THE COUNTRY MEN FEEL GREAT, STRONG, NOBLE  CHARLES SORLEY: DIED IN THE WAR “WHEN YOU SEE MILLIONS OF THE MOUTHLESS DEAD”: NEGATIVE DESCRIPTION OF DEATH “TO GERMANY”: COMPARISED GERMAN AND ENGLISH SOLDIERS THEY FIGHT FOR THEIR COUNTRIES BUT WANT PEACE  ROBERT GRAVES: IRONIC POEMS ON PERSONAL THEMES. HE WAS A SOLDIER “THE POEMS OF ROBERT GRAVES”, “COUNTRY SENTIMENT” “GOODBYE TO ALL THAT”: TALKS ABOUT HIS RESPECT TOWARDS THE REGIMENT  “A DEAD BOCHE” (1917): HE DESCRIVES WAR IN A NEGATIVE WAY GIVING US THE EXAMPLE OF GERMAN DEATH SOLDIERS THAT HE FOUGHT IN THE WOOD THE POEM IS FORMED BY 2 PARTS, EACH ONE OF 6 LINES IN THE 1ST HE SAID THAT WAR ISN’T SO PRETTY LIKE MANY PEOPLE THINK AND IN THE SECOND HE GIVES US DEMONSTRATIONS TO HIS THESYS DESCRIVING THE HORROR OF THE WAR RHYME: ABABCC  ROBERT NICHOLS: PATRIOTIC “INVOCATION”, “AURELIA”, “FISBO”, “GUILTY SOULS”  HERBERT READ: TALKS ABOUT HIS WAR EXPERIENCE: “WAR OF CHAOS”, “NAKED WARRIORS” AUTOBIOGRAPHY: “IN RETREAT”, “AMBUSH” “TO A CONSCRIPT”: HORROR OF TRENCHES “NATURE IN ENGLISH LITERATURE”: LOVE FOR NATURE  WILFRED OWEN: ENGLISH POET AND SOLDIER 1914 BATTLE OF THE SOMME AND OTHERS. SHELL SHOCK OR NEURASTHENIA/ HE WAS SENT IN AN HOSPITAL TOGETHER TO SASSOON  SIEGRIED SASSOON: ANGRY AND COMPASSIONATE POEMS ON THE WAR, HORROR AND BRUTALITY OF TRINCHES “THE SOLDIER’S DECLARATION”: AGAINST WAR AND MILITAY INCOMPETENCE AND HYPOCRISY “REPRESSION OF WAR EXPERIENCE”: THE SOLDIER MAKES AN INTERIOR MONOLOGUE TALKING ABOUT HIS EXPERIENCE OF THE WAR “THE LAST MEETING”: IS ABOUT THE DESIRE TO MEET AGAIN HIS DEAD FRIEND, THOMAS  CHARLOTTE MEW: LESBIAN AND MOST PART OF HER FAMILY DIED FOR MENTAL PROBLEMS ( CENTRAL THEMES IN HER POETRY ) ALSO SHE WAS HITTEN BY NEURASTHENIA AND SHE WENT IN A HOSPITAL WHERE SHE COMMITTED SUICIDE “NEW WOMAN” FOR HER SEXUALITY AND WAY OF DRESSING THEMES: SEXUALITY, FEAR OF SELF-REVELATION AND ABSENCE OF SECURITY IN THE WORLD, DEATH HER CHARACTERS ARE ON THE BORDERS OF NORMALITY: PROSTITUTES, HYSTERICAL AND INSANE PEOPLE “THE CENOTAPH”: THE WORD MEANS EMPTY TOMB IN THIS MONUMENT THERE ARE NO BODIES BUT IT IS A SYMBOL OF WW1 DESTRUCTION AND SOLDIERS’ DEATH TO COMMEMORATE THEM FORMED BY 1 STANZA OF 25 LINES-DRAMATIC MONOLOGUE- IRREGULAR STRUCTURE BUT PRECISE RHYME AND METRICAL SCHEME ( ABAB BBB CCB DDE BEBBB FGG FFF ) TO ANALYZE 2 PARTS: 1-18= SHOWS THE LOSS OF SOLDIERS’ BODIES WHO DIED IN THE WW1 19-25= THE REAL MEANING OF THE CENOTAPH’ S MEANING AND THE ONE THAT WILL BE GIVEN TO IT IN THE FUTURE WON’T BE EQUAL BUT LESS BECAUSE OF THE PASSAGE OF TIME  “MAY 1915” (1915): TALKS ABOUT SPRING AS A REBIRTH. SHE WISHES IN THE END OF WAR GIVEN BY THE ARRIVAL OR SPRING. SPRING HAS GOT THERE A SYMBOLIC MEANING OF REBIRTH The Cenotaph Not yet will those measureless fields be green again Where only yesterday the wild sweet blood of wonderful youth was shed; There is a grave whose carth must hold too long, too decp a stain, Though for ever over it we may speak as proudly as we may tread, But here, where the watchers by lonely hearths from the thrust of an inward sword have more slowly bled, We shall build the Cenotaph: Victory, winged, with Peace, winged too, at the column’s head. And over the stairway, at the foot — oh! here, leave desolate, passionate hands to spread Violets, roses, and laurel with the small sweet twinkling country things Speaking so wistfully of other Springs From the little gardens of little places where son or sweetheart was born and bred. In splendid slccp, with a thousand brothers To lovers — to mothers Here, too, lies he: Under the purple, the green, the red, It is all young life: it must break some women”s hearts to sec Such a brave, gay coverlet to such a bed! Only, when all is done and said, God is not mocked and neither are the dead. For this will stand in our Market-place — Who?!l sell, who”]l buy (Will you orI Lie cach to cach with the better grace)? While looking into every busy whore”s and huckster’s face As they drive their bargains, is the Face Of God: and some young, piteous, murdered face. wounded trees Wait with their old wise patience for the heavenly rain, Sure of the sky: sure of the sca to send its healing breeze, Sure of the sun. And even as to these Surely the Spring, when God shall please, Will come again like a divine surprise To those who sit today with their great Dead, hands in their hands, eyes in their eyes, Atone with Love, at one with Gricf: blind to the scattered things and changing skies. Ariel Hi SYLVIA PLATH Stasis in darkness. Then the substanceless blue Pour of tor and distances. God's lioness, How one we grow, Pivot of heels and knees!—-The furrow Splits and passes, sister to The brown arc Ofthe neck I cannot catch, Nigger-eye Berries cast dark Hooks— Black sweet blood mouthfuls, Shadows. Something else Hauls me through air- Thighs, hair; Flakes from my heels. White Godiva, I unpeel— Dead hands, dead stringencies. And nowI Foam to wheat, a glitter of seas. The child’s cry Melts in the wall. AndI Am the arrow, The dew that flies Suicidal, at one with the drive Into the red Eye, the cauldron of morning. WIDOW Widow. The word consumes itself —- Body, a sheet of newsprint on the fire Levitating a numb minute in the updraft Over the scalding, red topography That will put her heart out like an only eye. Widow. The dead syllable, with its shadow Of an echo, exposes the panel in the wall Behind which the secret passages lies—stale air, Fusty remembrances, the coiled-spring stair That opens at the top onto nothing at all…. Widow. The bitter spider sits And sits in the center of her loveless spokes. Death is the dress she wears, her hat and collar. The moth-face of her husband, moonwhite and ill, Circles her like a prey she'd love to kill A second time, to have him near again —- A paper image to lay against her heart The way she laid his letters, till they grew warm And seemed to give her warmth, like a live skin. But it is she who is paper now, warmed by no one. Widow: that great, vacant estate! The voice of God is full of draftiness, Promising simply the hard stars, the space Of immortal blankness between stars And no bodies, singing like arrows up to heaven. Widow, the compassionate trees bend in, The trees of loneliness, the trees of mourning. They stand like shadows about the green landscape —- Or even like black holes cut out of it. A widow resembles them, a shadow-thing, Hand folding hand, and nothing in between. A bodiless soul could pass another soul In this clear air and never notice it —- One soul pass through the other, frail as smoke And utterly ignorant of the way it took. That is the fear she has—the fear His soul may beat and be beating at her dull sense Like Blue Mary's angel, dovelike against a pane Blinded to all but the grey, spiritless room It looks in on, and must go on looking in on.  SPATIAL ENGAGEMENT WITH POETRY  POETRY CAN ALTER OUR VISION OF THE WORLD/ MORE CAREFUL, REFLECTIVE / POETRY IS VOICED/ WE CAN BUILD IT IN OUR HEAD WHEN WE READ IT RELATING AND INTERPRETATING WORDS, IMAGES, VOICES/ ITSELF A SPACE BUT CAN’T EXIST BY ITSELF BECAUSE TEXT WOULD REMAIN A TEXT/READ-INTERPRETATION/ POETRY ISN’T A SINGLE ENTITY, IS A SET OF POSSIBLE METERS UNITED IN THE POETIC LANGUAGE  SPACE AND PLACE ARE RELATED TO EACH OTHER AND TO OUR CULTURAL, SOCIAL, LINGUISTIC DEVELOPMENT  SPACE AND POETRY RELATED TO EMOTIONS AND EXPERIENCE/ READERS  SPACE IS DIFFERENT FROM SPACING.  SPACE= EMPTY PAPER RELATED TO KNOWLEDGE. IT ISN’T JUST GEOMETRIC BUT IT MAKES A SIGNIFICANCE: THE POEM’S CONCEPT OF ENUNCIATING  POEM IS ORGANIZED IN A GEOMETRIC SPACE AND WE CAN READ IT ENTERING IN A SPACE OF ACTION  SPACING= HOW THE POET CREATES SPACE AND IS A LITERARY FORCE ACTIVE IN THE TEXT  PLACE= MULTIPLICITY OF SOCIAL RELATIONS ACROSS ALL SPATIAL SCALES. IS A PART OF SPACE AND IT’S HYBRID, FLEXIBLE AND CAN CHANGE. THE POETRY HAS TO CHANGE TOO. PLACE CAN BE LIVED AND UNCONSCIOUS OR LEARNED AND CONSCIOUS. THESE 2 TYPES OF PLACE COESXIST IN OUR MIND  TEXT= FIELD OF POWER OF RELATIONS  SOUNDS AND IMAGES ARE CREATED BY THE GIVEN COMBINATION OF WORDS IN OUR HEAD  THE COMBINATION OF WORDS GIVE US A SIGNIFICATION OF THE EMPTY SPACE OF THE PAGE  POEM AS A SPACE= THE PLAY OF WORDS, THE SPACES ON THE PAGE  POEMOF A SPACE= THE RESULT OF SIGNIFICATION AND THE IMAGE CREATED  HUMANS THINK SPATIALLY CREATING A SORT OF MAP= ABSTRACT RELATION BETWEEN ELEMENTS  VOICE= CAN GO OUT INTO SPACE AND HAS TO BE HEARD IN AN OPEN SPACE OR UNSPOKEN RESTING INTERNAL ANALYSIS OF THE POETIC TEXT  PROSE LOWER AND COMPLEX THAN POETRY INTERPRET POEMS IN DIFFERENT WAYS/UNDERSTANDING SYMPATHY-EMPATHY KEEP US CONTINUE THE READING INFLUENCE OUR VALUE  ALL NATURAL LANGUAGES RULES RELATE ELEMENTS COMMUNICATION ( SAUSSURE ) IN POETRY: COMPLEX RELATIONS OF ELEMENTS, IMPOSSIBLE IN THE LANGUAGE OF EVERYDAY METRICORHYTMICAL, PHONOLOGICAL, RHYMING, LEXICAL, IDEOCOMPOSITIONAL NORMS  BELLETRISTIC TEXT: A TEXT CONNSIDERED OVER ALL FOR ITS AESTETHIC THAN FOR ITS CONTENT THANKS TO MANY ELEMENTS THAT WORKS FOR THIS PURPOSE: RHYMES, METRIC EXC…  RHYME: TYPICAL OF PROSE TEXTS THAT DIFFERENTIATES IT FROM POETRY AND BELLETRISTIC TEXTS  PHONEMES ARE PRESENTED TO THE READERS ONLY IN THE LEXICAL UNITS WITH SOUNDS  PHONOLOGICAL ORGANIZATION OF THE TEXT HAS GOT A SEMANTIC SIGNIFICANCE A PREFACE TO TRASGRESSION  XX CENTURY HAD GOT LIMITS GIVEN BY CONSCIOUSNESS, LAW, RELIGION AND LANGUAGE.  GOING AGAINST THEM WAS A TRASGRESSION BECAUSE WE LEAVE OUR SPACE GOING OVER OUR BARRIERS BUT WE ARE GOING INTO SOMEONE ELSE’S WORLD/ TRANSGRESSION IS LINKED TO SPACE, OUR CULTURAL SPACE/ IN XXTH POETS WERE CONSIDERED TRANSGRESSORS BECAUSE OF WHAT THEY WROTE IN THEIR WORKS. THESE POETS WERE: THE GEORGIANS, TTHE WAR POETS, IMAGIST POETS AND THE SYMBOLIST POETS  TABOO= IS A BAN ON SOMETHING RELATED TO CULTURAL SENSIBILITY THAT PERCIEVED IT REPULSVIE, SACRED ETC…/ THEY ARE PROHIBITED BY RELIGION AND CUSTOMS/AMBIGUOUS BECAUSE THEY DIFFER FROM ONE CULTURE TO THE OTHER/ THE WORD TABOO BEGAN FROM THE TONGAN AND MEANS FORBIDDEN. IT WAS ENTRODUCED IN THE ENGLISH LANGUAGE BY CAPTAIN COOK IN A VOYAGE TO THE PACIFIC OCEAN IN 1784/ SOME TABOOS TODAY ARE: THE TERRORISTIC ATTACK OF 11TH SEPTEMBER, THE HOLOCAUSTUS, SEX AND THE MENSTRUAL FLUX THE PASSION FOR THE OUTSIDE  FAUCOULT’S WORKS FOCUSED ON DIFFERENT THEMES: THE MOVEMENT TOWARD EXTERIORITY, THE SELF, REFLESSIONS ON LANGUAGE, TRASGRESSION OF LIMITS AND DISPERSION OF THE SUBJECT  HE OPENED THIS ESSAY MAKING A DINSTINCTION BETWEEN “I THINK” AND “I SPEAK” DISPERSION OF THE SUBJECT  VOID: NATURAL SPACE WHERE LITERATURE SPRINGS AND LANGUAGE LOSES ITSELF  OUTSIDE AND INSIDE RELATED BY REFLECTION MICHAEL FIELD’S LONG AGO AS A PARADIGM OF INTERTEXTUAL THEORY: FROM STRANGENESS TO METAXOLOGY  KATHERINE BRADLEY AND HER NIECE EDITH COOPER BOTH IDENTIFIED WITH THE PEN NAME OF MICHAEL FIELD. THEY WERE EDUCATED AND INDIPENDENT. THEY WERE TRANSGRESSIVE ALSO FOR THEIR INCESTUOUS RELATIONSHIP  “LONG AGO” ( 1889) 1ST COLLECTION OF POEMS( 68 POEMS) FOCUSED ON SEXUAL THEMES. SAPPHO INSPIRED THEM BUT SOME SCHOLARS THINK THAT THE COLLECTION IS MADE UP OF SAPPHIC LYRICS. THEY TRIED TO RECREATE AN IDEAL GREEK WORLD OF PASSION, BEAUTY AND SENSUALITY CENTRED ON FEMALES. THE COLLECTION EXPLORES BOTH HOMOSEXUAL AND ETHEROSEXUAL LOVE ( SAPPHO WAS BISEXUAL ) FROM “LONG AGO”:  “PREFACE” (1889): SAPPHO IS CONSIDERED AS THE IDEAL POET FOR HER AUTHORITY THAT WASN’T SO COMMON AT HER TIME  “A PALIMPSETS” (1889): PALIMPSETS ARE PIECES OF PARCHMENT ( PERGAMENA ) REUSED UNTIL THE PAPERS COULDN’T BE USED AGAIN. USUALLY THEY WERE MADE OF CALF, LAMB OR GOAT SKIN THE WORLD CAMES FROM LATIN “PALIMPSESTUS” AND MEANS AGAIN. PARCHMENTS WERE USED IN THE ANCIANT GREECE AND IN ROME. IN THIS PERIOD WERE USED ALSO IN UK. WRITTEN TEXTS OF THE PARCHMENTS WERE OVER ALL LEGAL AND CHURCH DOCUMENTS. MICHAEL FIELD SAID TO THE LOVER ( 1ST STANZA ) THAT THEIR STORY HAVE TO BE WRITTEN IN A PALIMPSET TO BE REMEMBERED ALSO WITH THE PASSAGE OF TIME. THEIR STORY HAS TO BE A PALIMPSET SO THAT IT CAN BECAME ONE OF THE BEST TEXTS ( BECAUSE IN THE PALIMPSETS WERE WRITTEN THE BEST TEXTS AND THE MOST IMPORTANT ONES, AND THEIR STORY IS IMPORTANT TO MICHAEL FIELD ENOUGH The lyre unloosed their souls; they lay Under the trembling leaves at play, Bright dreams to follow. They plaited garlands—heavenly twine! They crowned the cup, they drank the wine Of youth’s deep pleasure. Now, lingering for the lyreless god— Oh yet, once in their time, they trod A choric measure. HITHER NOW MUSES! LEAVING GOLDEN SEATS Hither now Muses! leaving golden seats, Hither! Forsake the fresh, inspiring wells, Flee the high mountain lands, the cool retreats Where in the temperate air your influence dwells, Leave your sweet haunts of summer sound and rest, Hither, O maiden choir, and make me blest.  WHEN WE TALK ABOUT FIELD’S WORKS WE HAVE TO TALK ABOUT METAXOLOGICAL AESTHETIC= THE DUALISM BETWEEN IMITATION AND CREATION THE PROBLEM OF BODY IN STEVIE SMITH’S BODY OF WORK  SMITH ARGUMENTED THE PROBLEMATIC OF FEMININITY USING HER BODY  REFUSE OF MATERNITY REFUSE OF HETEROSEXUALITY THESE PEOPLE IN HER WORKS ARE PUNISHED BEING TRANSFORMED IN ANIMALS OR DEAD ( SARCASTIC ELEMETS )  POEMS ON SEX ARE FEW PURPOSE: SHAPE LADIES TO WOMEN ALSO FROM A PSYCHOLOGICAL POINT OF VIEW  APPROVES LESBIAN EROTISM IN ORDER TO FREE WOMEN FROM THE ECONOMY OF REPRODUCTION AND GENDER IDENTITY DESCRIBED WITH METAPHORS AND ELLIPSES SECTION OF PSYCHIATRY  REPRESSION= VOLUNTARY PROCESS OF MEMORIES’ REMOTION BY OUR HEADS. THIS GENERATES SUPPRESSION ( NO MEMORY OF SOME EVENTS )  THIS HAPPENED A LOT DURING THE WAR BETWEEN SOLDIERS  SOLUTION: TO TALK AND EMBRACE THE IMPROVEMENT A WOMAN SPEAKS…I’M A WOMAN AND NOT WHITE  AUDRE WAS A BLACK LESBIAN, FEMINIST AND POET WHO USES HER VOICE TO AFFIRM HER OWN RIGHTS DESPITE MANY NEGATIVE OPININIONS, RACISM AND OPPRESSIONS  SHE WANTS TO CALL OTHER’S BLACK LESBIAN VOICES FROM SILENCE IN ORDER TO AFFIRM THEIR RIGHTS  SHE CONSIDERS POETRY AS A VITAL NECESSITY  WOMEN ARE EQUAL TO MAN IN REAL LIFE AND IN LITERATURE  THEIR SKIN COLOR IS THEIR GREATER STRONG POINT, NOT WEAK POINT AUDEN ( 1930 ) AND LARKIN ( 1950)  ANTI-MODERNISTS AND HAD A ROMANTIC SIDE  LARKIN INFLUENCED BY AUDEN, THOMAS HARDY AND YEATS  POETRY= EXIST ONLY FOR THE EXPERIENCE  THE READER SEES HIS OWN SELF AND EXPERIENCE IN THE POEM AND REMEMBER IT THE AUDEN GENERATION  GENERATION= PEOPLE OF THE SAME AGE AND PLACE THAT SHARE SAME EXPERIENCES  AUDEN GENERATION= 1930. HISTORICAL EXPERIENCES OF WW1 FEAR LOSSES SACRIFICES, DISCONFORT ABSENCES TERROR  “WASTE LAND”’S ELLIOT BEST DESCRIBES THE WAR, THE POST-WAR, AND THE SOCIAL SITUATION WITH IRONICAL TONES  AUDEN GENERATION TWO GROUPS: 1. NOVELS ON THE CHAOS GENERATED BY THE WW1 UTOPIAS THEY IMAGIE A FANTASTIC VILLAGE, A SORT OF PARADISE, ALTERNATIVE WORLD THAT FREES THEM FROM THE REAL AND UNHAPPY WORLD 2. POLITICAL ACTIVISTS OF THE 30THIES POST WAR CHANGES