Abstract
‘No contemporary poem’, declared G. S. Fraser in 1953 ‘has been subjected to more detailed analysis than The Waste Land yet no critic has either confidently assigned it to one of the traditional kinds of poetry or, if he considers it as the invention of a quite new kind of poem, has invented a new name for that kind.’2 Reviewing the situation in 1962, Fraser observed that the critical discussion was ‘still very largely inconclusive’; there was still no agreement about the genre, mode of coherence, or influence of the poem.’ A decade later, the question of genre had apparently been resolved. The Waste Land was now, by general consent, a ‘modernist’ poem; the task, therefore, was to locate it within the larger structure of ‘modernism’.
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
