ABSTRACT
Neo-Romanticism is largely represented by John Piper, Paul Nash, and Graham Sutherland. The other artists associated with the movement are glossed over, and the poets, such as J. F. Hendry, Nicholas Moore, and Henry Treece, are omitted altogether. Of Harris's high Modernists, T. S. Eliot's inability to escape the dialectic of emotion versus impersonality has been explored by Maud Ellmann. A much more recalcitrant figure, for both movements, is Wyndham Lewis. As the self-styled "Enemy", Lewis is frequently regarded as an opponent of Romanticism aligned with the other men of 1914: Eliot, James Joyce, and Ezra Pound. Romantic pathos is, following the lines of Lewis's argument, a distraction from what should be the true goal of art: a sustained critique of the forces that underwrite a regressive form of modernity. The coda to Lewis's involvement with Neo-Romanticism was his continuation of The Childermass (1928) in Monstre Gai and Malign Fiesta, published together in 1955, again with illustrations by Ayrton.
