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20th-century lyric poetry
In the early years of the 20th century, rhymed lyric poetry, usually expressing the feelings of the poet, was the dominant poetic form in America,〔Christopher John MacGowan, ''Twentieth-Century American Poetry'', Blackwell Publishing, 2004, p9.ISBN 0-631-22025-9 〕 Europe and the British colonies. The relevance and acceptability of the lyric in the modern age was, though, called into question by modernism, the growing mechanization of human experience and the harsh realities of war. After the Second World War the form was again championed by the New Criticism, and in the late 20th century lyric once again became a mainstream poetic form.
==Modernism==
The dominance of lyric was challenged by American experimental modernists such as Ezra Pound, T. S. Eliot, H.D. and William Carlos Williams, who rejected the English lyric form of the 19th century, feeling that it relied too heavily on melodious language, rather than complexity of thought.〔Christopher Beach, ''The Cambridge Introduction to Twentieth-Century American Poetry'', Cambridge University Press, 2003, p49. ISBN 0-521-89149-3〕 Wallace Stevens and Hart Crane, however, were modernists who also worked within the tradition of post-Romantic lyric poetry. Defenders of lyric poetry in the early 20th century saw it as an ally in the fight against mechanization, standardization and the commodification of human activities.〔Carrie Noland, ''Poetry at Stake: Lyric Aesthetics and the Challenge of Technology'', Princeton University Press, 1999, p4. ISBN 0-691-00417-X〕 The poetry of Guillaume Apollinaire represents an alternative view, that mechanization could extend the repertoire of lyric poetry.〔
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