Auden has cane to be one of the most outstanding poets of our time.

He has produced some of the most difficult, and at the same time some of
the finest verse written during the thirties. Lengthy and minute
discussions of his works in the important scholorly journals and magazines
give evidP~ce to this fact. Eliot attributed a great deal of his early style to the
French Symbolists--Rimbaud, Baudelaire, Mallarme, and Laforgue--whom he first
encountered in college, in a book by Arthur Symons called The Symbolist Movement
in Literature. It is easy to understand why a young aspiring poet would want to
imitate these glamorous bohemian figures, but their ultimate effect on his poetry is
perhaps less profound than he claimed. While he took from them their ability to
infuse poetry with high intellectualism while maintaining a sensuousness of
language, Eliot also developed a great deal that was new and original. His early
works, like "The Love Song of J. Alfred Prufrock" and The Waste Land, draw on a
wide range of cultural reference to depict a modern world that is in ruins yet
somehow beautiful and deeply meaningful. Eliot uses techniques like pastiche and
juxtaposition to make his points without having to argue them explicitly. As Ezra
Pound once famously said, Eliot truly did "modernize himself." In addition to
showcasing a variety of poetic innovations, Eliot's early poetry also develops a
series of characters who fit the type of the modern man as described by Fitzgerald,
Faulkner, and others of Eliot's contemporaries. The title character of "Prufrock" is a
perfect example: solitary, neurasthenic, overly intellectual, and utterly incapable of
expressing himself to the outside world.

As Eliot grew older, and particularly after he converted to Christianity, his poetry
changed. The later poems emphasize depth of analysis over breadth of allusion;
they simultaneously become more hopeful in tone: Thus, a work such as Four
Quartets explores more philosophical territory and offers propositions instead of
nihilism. The experiences of living in England during World War II inform the
Quartets, which address issues of time, experience, mortality, and art. Rather than
lamenting the ruin of modern culture and seeking redemption in the cultural past,
as The Waste Land does, the quartets offer ways around human limits through art
and spirituality. The pastiche of the earlier works is replaced by philosophy and
logic, and the formal experiments of his early years are put aside in favor of a new
language consciousness, which emphasizes the sounds and other physical
properties of words to create musical, dramatic, and other subtle effects.

However, while Eliot's poetry underwent significance transformations over the

course of his career, his poems also bear many unifying aspects: all of Eliot's poetry
is marked by a conscious desire to bring together the intellectual, the aesthetic, and
the emotional in a way that both honors the past and acknowledges the present.
Eliot is always conscious of his own efforts, and he frequently comments on his
poetic endeavors in the poems themselves. This humility, which often comes across

as melancholy, makes Eliot's some of the most personal, as well as the most
intellectually satisfying, poetry in the English language
They have been uprooted from their culture and tradition. But, life, if it is to be
lived, can never rest on nothing. Really, culture and tradition make human life
worth
living and myth is one of the dominant manifestations of culture. In this writing we
will
attempt to examine how the modernist poet W. H. Auden exploits Greek myths to
his
purpose of delineating a modern world. The problem of dissatisfaction in life was
being answered during these
years by Freud. P.i.s theories were being discussed by intellectuals as were
the plans laid down by the socialist, Marx, for a utopian economic society.
Auden was award of the problems and interested in seeing them worked out.
It is a wonder then that his expression of the modern world is influenced
by these philosophies
Part of the technique of modern poets such as Auden, is derived
obviously from Hopkins
Both thematically and structurally, Audens poems show the very essence of
modernism. The characteristics that are needed to consider him as a modern poet
are all in profusely blended in his poems
Symbolism imagery
In memory of w,b yeats
Imagery
Audens landscape imagery is, also modern. In the poem entitled In Memory of
W.B.Yeats, he represents the atmosphere of the then Europe as follows:

In the nightmare of the dark

All the dogs of Europe bark,
And the living nations wait,
Each sequence in his hate.s Auden is here indicating that all the European nations
are crying for war, like the dogs barking loudly. There is no fellow-feeling among the
European nations. Rather they are separated from each other by their hatred

Auden shows the barrenness of modern age as well as the modern human soul.
Auden refers that Modern age is totally barren without any feature

"A plain without a feature, bare and brown,

No blade of grass, no sign of neighborhood
Nothing to eat and nowhere to sit down.
Auden portrays that modern soul are hollow. Their mind are unable to communicate
their emotions and their heart are like "the desert where the

the seas of pity lie

Locked and frozen in each eye

Throughout his creative life, Ted Hughes has used his poetry to tap
the universal energies and to channel their healing powers towards
the sterility and the divisions which he sees in our world. All his
major sequences of In Church Going, Philip Larkin probes the
purpose of religion and questions rituals
associated with attending church. By setting up several contrasting
images and ideas, Larkin
enables readers to consider how the church functions in society from
a variety of lenses poetry work towards this end, and Remains of
Elmet represents an important step in Hughes ability to achieve
wholeness and harmony through the imaginative, healing processes
of his art.
Ted Hughes is often called a Zoo Laureate 3 because of the abundant use of
animal imagery in his poetry. His interest in animals began at an early age about
which he himself writes: . . . my interest in animals began when I began. 4 His
preoccupation with animals was not limited to indoor activities alone; he roamed
about the hills, accompanying his elder brother, hunting and capturing animals.
When he was eight, his family went to live in an industrial 2 town Yorkshire where
Hughes was fortunate to find enough woods and lakes5 to feed his imagination.
There he lived a dual life: one with the town boys and the other with the world of
Nature.
The Movement poets tried to evade the sordid reality of life and took refuge in 3 the
moral and religious pretensions favouring order and harmony in the world.
Movement poetry depicts Nature as a force that can be harnessed and tamed.
Hughes treatment of Nature, on the contrary, is a celebration of Nature in her

unrestrained wildness and turbulence. Hughes was primarily influenced by

Schopenhauers nihilistic view of life
This view of the world rejects the possibility of any external source as the basis of
truth; and hence denies all religious and rational grounds. Life, the visible world,
the phenomenon21 mirrors the will to live 22 manifesting a constant struggle to
continue to exist despite the fact that death awaits in the background. Hughes
equates war and violence with this struggle for life. The Will mainly centres around
the eating habits not only of animals but of all life animate and inanimate. Man,
like the whole world of Nature, manifests the Will to Live and his inner nature
struggles against death23 but differing from the brute, man tries to deny his basic
brute impulses under the burden of consciousness with the emergence of the
Existential school Kierkegaard was the major exponent of Existentialism. It grew to
full maturity in the 1940s and 50s in the hands of French philosophers like JeanPaulSartre and Albert Camus. Later, the Existentialists denied the primacy of any moral,
religious and rational faculties as the basis of knowledge and truth. A
they showed how life survives in the face of war and violence. They articulated lifes
primacy over death. William Blake is another poet who seems to have influenced
Ted Hughes. Blake believed that man lives in a materialistic, rational and highly
mechanized world which is spiritually sterile and desolate, lacking vitality and
energy. An awareness of this state leads to the realization that one needs to
undertake a spiritual journey74 in order to rectify this situation and consists of a
lifelong battle. Death will eventually over- take us whether we fear it or not so it is
better to spend our life in good conscience and free from anxiety than in a labyrinth
of existential questioning. life's journey makes available to us Many humans live the
life of this world, seeking the best that it has to offer, while ignoring what lies ahead
of them upon death Death is a harsh and fearful reality faced by everyone who
lives. No one has the power to avoid it "Everyone shall taste death
One of the critics says that the poem Ambulances conveys the idea that every
imaginable pain in life is as nothing compared to the permanent and true fact of
death. Larkins view of death is chilling and effective because of the very
ordinariness and everyday settings he writes about
Hope of but not in 1950s
The poem that seems to be an inquiry into the role of
religion in our lives today, describes the curiosity of the speaker on the same
subject. However, in the
end the narrator comes to the conclusion that churches will never go out of style,
not only because of
the integral role of religion in our society, but also because mankind has an innate
need to believe in

something greater then themselves. He is an agnostic but accepts the importance

of religion in human culture. word Another signifies the flowers of the Sunday
church had not been removed and hence they were
withered and had turned brown. An organ or a smaller piano he moved towards the
Font, the place where the
holy water is kept for baptism. Instead of looking at statue of Jesus, he first looked
at the roof which
seemed clean or renovated-stating that the church had a caretaker men would visit
the place hoping to see their
forefathers & relatives spirits in the churchs graveyard. Finally, the poet says that
even when the churches are dusty and unclean, people will still go towards
them. Even though scrubs and bushes have grown and they are spreading acres
and all over, churches
have existed for the genuine reverence of the celebration of rituals, marriages, birth
and death and have
been an integral part of our lives. If not for any other, then for at least this the
churches will remain in
human mind forever. this thought cannot be outdated ever Title c
In Church Going, Philip Larkin probes the purpose of religion and questions rituals
associated with attending church. By setting up several contrasting images and
ideas, Larkin
enables readers to consider how the church functions in society from a variety of
lenses