Aesthetics of Poetry and Postmodernist Poets: A Review

Abstract

Postmodernism is a period in which multiple modes or versions of different poetries exist and flourish. Poetry produced in the postmodern era and has an extremely solid nearness in cafes, bars, and even clubs, fundamentally outperforming its more conventional settings and areas. Poetry is becoming ever more synonymous with testing in English schools. poetry is not by learning the rules of scansion, or studying prosody and other theoretical aspects of poetry, although this is important, but by imitation. And what the poet imitates in the poets that he admires is the sound of the poetry, its rhythms, rhyme schemes, patterns, etc., not the lexical meanings of the words. Using the same words as the poets one admires would constitute plagiarism, not imitation, although one may certainly make allusions to other poems by means of what is sometimes called “poetic license”. poetry is cast as unstable and unreliable but simultaneously inescapable; language is both captor and captive .Poetry study at GCSE level could become a limited and controlled experience, restricted to the confines of the classroom and the pages of exam board anthologies.  In this work, we have studied a theory of different poets in view of the aesthetic content of poetry. These poets are exceptionally dynamic and their poetries are different from the theories of art and all other poetries. The industriousness of the expository strategies of aesthetic formalism close by the more up to date scholarly apparatuses of basic hypothesis and social feedback has been examined. They are very active, leading tertulias, engaging with poetry readings and performances in literary and non-literary circles, and endorsing verse on the internet, with the result that the genre is now more open and available to the general public than ever before. For the Transcendentalists all true poets are “children of music”.