Power, Plain English, and the Rise of Modern PoetryYale University Press, 1 окт. 2008 г. - Всего страниц: 224 DIVIn this engaging book David Rosen offers a radically new account of Modern poetry and revises our understanding of its relation to Romanticism. British poets from Wordsworth to Auden attempted to present themselves simultaneously as persons of power and as moral voices in their communities. The modern lyric derives its characteristic complexities—psychological, ethical, formal—from the extraordinary difficulty of this effort. The low register of our language—a register of short, concrete, native words arranged in simple syntax—is deeply implicated in this story. Rosen shows how the peculiar reputation of “plain English” for truthfulness is employed by Modern poets to conceal the rift between their (probably irreconcilable) ambitions for themselves. With a deep appreciation for poetic accomplishment and a wonderful iconoclasm, Rosen sheds new light on the innovative as well as the self-deceptive aspects of Modern poetry. This book alters our understanding of the history of poetry in the English language./div |
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Стр. 1
... claims . In this book , I pursue two distinct but tightly intertwined arguments about language and force . It is , first and foremost , an account of the rise of Modern poetry with a prelude in the Romantic period : I look at the way ...
... claims . In this book , I pursue two distinct but tightly intertwined arguments about language and force . It is , first and foremost , an account of the rise of Modern poetry with a prelude in the Romantic period : I look at the way ...
Стр. 3
... claim that the association of plain English with truthfulness is largely an invention of Ro- manticism, even though it has an important pre-history in the Tudor-Stuart and Augustan periods. Theories of “the plain style,” however ...
... claim that the association of plain English with truthfulness is largely an invention of Ro- manticism, even though it has an important pre-history in the Tudor-Stuart and Augustan periods. Theories of “the plain style,” however ...
Стр. 6
... claims Harold Bloom, “had no true subject except his own subjective nature.” Such poetry, Perloff adds, inevitably privi- leges content over structure, the poet's own imagination his obsessive recurring topic. The form most conducive ...
... claims Harold Bloom, “had no true subject except his own subjective nature.” Such poetry, Perloff adds, inevitably privi- leges content over structure, the poet's own imagination his obsessive recurring topic. The form most conducive ...
Стр. 7
... claim critics ac- cept at their own risk . My own view is that the poetry of Yeats , Eliot , Auden , Pound , and Stevens was — what it was literally — post - Romantic : distinct from Romanticism, yet emerging from questions posed by the ...
... claim critics ac- cept at their own risk . My own view is that the poetry of Yeats , Eliot , Auden , Pound , and Stevens was — what it was literally — post - Romantic : distinct from Romanticism, yet emerging from questions posed by the ...
Стр. 9
... claim- ing authority as a poet, produced equally innovative ideas about style and sub- ject matter. It is only to be expected, furthermore, that the poets immediately following him would respond vehemently to the latter (for or against) ...
... claim- ing authority as a poet, produced equally innovative ideas about style and sub- ject matter. It is only to be expected, furthermore, that the poets immediately following him would respond vehemently to the latter (for or against) ...
Содержание
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15 | |
Wordsworths Empirical Imagination | 33 |
Certain Good W B Yeats and the Language of Autobiography | 73 |
The Lost Youth of Modern Poetry T S Eliot W H Auden | 123 |
Notes | 181 |
201 | |
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argument autobiography beauty Beggar begins Book Cambridge career century chapter claims Cold Heaven Coleridge crisis critics culture decade diction early Essays experience feelings finally Freud Green Helmet Harold Bloom human identity idiom imagination Jarrell John John Keats Juvenilia XVIa Katherine Bucknell Keats kind landscape language late later Latinate lines Locke Locke's low register lyric M. H. Abrams mature Maud Gonne meaning memory metaphor mind modern poetry Modernist myth nature object Orwell passage perhaps period philosophical plain English poem poet poet’s poetic political Prelude prose psychology Randall Jarrell reality recognize rhetoric Romantic Romanticism seems sense Shelley simple ideas social speaker stanza style suggest T. S. Eliot theory things thought Tintern Abbey tion tradition truth turn understanding University Press verse verse paragraph vision visionary voice W. B. Yeats W. H. Auden Watershed William Wordsworth words Wordsworthian writing Yeats's York