Modernist Poetry Analysis?

Overview: The goal of these Reflection pieces is to get you to reflect on the learning you’ve done in each section of the course. They are culminating activities that you should be thinking about as you complete the various tasks for each module. Take what you’ve learned and apply some additional critical thought to the texts we read and the information surrounding those texts. Reflection pieces should be one solid single-spaced page, and should use a font of 10-12 points.Instructions Please answer this question for this week’s reflection: Select any poem you want to analyze from the poems we’ve read in this module. Please discuss at least three specific images from that poem that exemplify the “modernist” view, briefly defined here as a kind of “ruthless skepticism.” Do these images help create a specific tone for the entire poem? What is that tone?Please see the Reflection Paper Rubric on the Course Rubrics page in the Start Here module for assessment criteria and the Course Schedule, also in the Start Here module, for the due date associated with this assignment.Learning Objectives1. Identify the social, political, and literary ideologies of 20th century Britain.2. Recognize major 20th century British poets and distinguish between their work.3. Interpret and analyze the work of Yeats, Eliot, Thomas, and Larkin. Must choose the poems as bellow: William Butler Yeats – “Lake Isle of Innisfree” (pp. 2177-2178), “An Irish American Foresees His Death” (pp. 2180-2181), “Sailing to Byzantium” (pp. 2185-2186), and “The Circus Animals’ Dissertation” (2200-2201) T.S. Eliot – “The Love Song of J. Alfred Prufrock” (pp. 2287-2297) and “The Waste Land” (pp. 2297-2310) Dylan Thomas – “The Force That Through the Green Fuse Drives the Flower” (pp. 2573-2574), “Fern Hill” (pp. 2574-2575), “Do Not Go Gentle Into That Good Night” (pp. 2576-2577) Phillip Larkin – “Church Going” (pp. 2631-2632), “High Windows” (pp. 2635), and “Talking in Bed” (pp. 2634)